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Flaunting The Tempest: From “Insubstantial Pageant” to Celluloid Fresco

  • Chantal Zabus

Abstract

The queering of a Black Caliban on the postmodern stage as in Philip Osment’s play This Island’s Mine (1988) raises questions about the “postcolonial body.” Indeed, such a body is no longer “an object of the West’s gaze but an imaginable subject enacted in the eroticized space of theatre.”1 In other words, Caliban is no longer where he was supposed to be, that is, on African, Australian, or Caribbean soil, but back in England. Besides, the “pleasures of exile” evoked by Lamming in the quintessentially postcolonial context of the 1960s have now become those of sexual dissidence and truancy.

Keywords

Atlantic City Compulsive Sexuality Race Issue Greek Island Popular Film 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

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    Susan Bennett, “Rehearsing The Tempest, Directing the Post-Colonial Body: Disjunctive Identity in Philip Osment’s This Island’s Mine,” Essays in Theatre/Etudes théâtrales 15:1 (November 1996), 42.Google Scholar
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Copyright information

© Chantal Zabus 2002

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  • Chantal Zabus

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